Quote:
Originally Posted by
andychamp
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How much gain reduction do you usually go for on the ElOp?
I ask, because I often use the Coles into the Manley VoxBox for mono OH (love the transient push from the 60dB gain setting!)
But I never thought about using its compressor, thinking Elops were too slow and grabby for drums , anyway.
to be honest, i never look. haha. and my meter is not working on the side of the elop i was using on overhead. i need to get it fixed eventually.
i just sort of hit it until i feel like it's grabbing the loudest snare hits a bit and pulling them back in and also adding some sustain to the cymbal hits.
a lot of times i'll do that mono coles thru a daking or one of my preamps that has a hi pass filter and i'll roll off a lot of the bottom, i'm mostly just getting another level of dimension for the snare and the cymbals with that mic. i get all the low end i need from the other mics out in front of the kit, especailly this stager ribbon that i use as a mono front of kit mic that is mostly grabbing the low end from the kick and toms.
the elop is a slower comp very similar to an la2, but i've always liked it..and la2 for that matter, on overheads on certain things.
when its a more agressive drum part, i'll go for my dakings or 1176 or sometimes this d comp i have which is like a tg style limiter like the chandler tg1.
a lot of jazz stuff i've recorded i'll use just a pair of coles over the kit often in glynn johns kind of setup, and i'll hit the elop pretty hard. it seems to really bring out the cymbal work and put the snare stuff right in place.
mostly i use the elop on bass and always on vocals when tracking and mixing. sometimes both channels in series on a vocal.